The Aftermath of "The Gates"
Central Park is no longer decorated with the large steel and fabric saffron gates that once adorned its walkways. The $21 million dollar project came to an end just three days ago and will be recycled down into soda cans and carpet padding. Some members of the art world provided a rather surprising response to "The Gates'" fate. A New York dealer, acting on behalf of a private collector, offered artists Christo and Jeanne-Claude $10 million for 50 of the Gates. When the initial offer was rejected, the dealer returned with a $20 million offer. This is a perfect example of the wealthy art collector who doesn't understand art and worse, a dealer who knows no better. The Gates were created with the intention of being destroyed once exhibited. They were designed for one place and one place only: Central Park. Their value was in what they offered collectively, not individually. It was in what they offered experientially and not as some physical representation. To attempt to acquire any part of the Gates demonstrates a complete lack of understanding of the work of art and to miss the artists' point completely. To attempt to acquire them with the goal of exhibiting them again indicates an general ingorance of the meaning of art. Christo provided the following explanation for their refusal to sell the Gates:
"Nobody can buy this project. Nobody can charge tickets for this project, nobody can own this project -- because freedom is an enemy of possession and possession is the equal of permanence. That is why this project should go away."
A private collector attempting to purchase the Gates is not altogether surprising, but the Brooklyn Museum of Art also made an attempt to acquire four of the Gates. This is particularly troublesome as it indicates a blatant disregard for artist intention and the value of original context. In the end, the artist who retains ownership of his or her art has the right to do with it whatever they please, even if that means destroying it.
For more information about Christo and Jeanne Claude's work or The Gates click here.
"Nobody can buy this project. Nobody can charge tickets for this project, nobody can own this project -- because freedom is an enemy of possession and possession is the equal of permanence. That is why this project should go away."
A private collector attempting to purchase the Gates is not altogether surprising, but the Brooklyn Museum of Art also made an attempt to acquire four of the Gates. This is particularly troublesome as it indicates a blatant disregard for artist intention and the value of original context. In the end, the artist who retains ownership of his or her art has the right to do with it whatever they please, even if that means destroying it.
For more information about Christo and Jeanne Claude's work or The Gates click here.
posted by Corey Wyckoff at 9:36 AM
3 Comments:
The Gates might have historic value, even individually, that may warrant their purchase and exhibition. In that case, they could be legitimately displayed as historic pieces but not as the work of art that once stood in Central Park.
True, and whatever remnant you've managed to acquire would be more accurately an artifact and not a work of art. However, the artists explicitly indicated that nothing was to remain of the Gates and I think the finality of their existence is what people find so troubling. I commend the artists for standing by their initial intention.
Perhaps I should have also mentioned that Christo creates drawings of all their works, which, for the most part, finances the creation of their artworks. These will serve as the objects of historic value for what used to be the Gates.
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